UK heavy psych fuzz rockers Josiah will release a new EP, titled rehctaW, on Dec. 1 through Interstellar Smoke Records. The band returned last year through Blues Funeral with the full-length We Lay on Cold Stone (review here), following a dearth of activity in the 2010s as founding guitarist/vocalist Mathew Bethancourt explored new spaces in Cherry Choke and began to feel out the experimentalist foundations of the solo-project Mathew’s Hidden Museum, which made its own self-titled debut (review here) earlier this year, also on Interstellar Smoke. With rehctaW — and yes, that’s ‘watcher’ backwards; sit tight, we’ll get there — Bethancourt, newcomer bassist Andy Shardlow and drummer Dan Lockton offer four songs that each have their own basis, style and function in the linear, 21-minute whole but that flow together with a kind of bruised grace in addition to the fuzz and vibe veering into the psychedelic at even its most straightforward moments, like the intro of second cut “By My Left Hand,” which peppers its repeating riff with right-channel wisps of lead guitar from Jack Dickinson (also Stubb), for whom Shardlow took over on bass.

Or the blowout buzz in the guitar of titular opener “rehctaW,” which takes peak-era Queens of the Stone Age bounce and sets it against garage boogie vibes for a swing that’s heavy and fluid in kind, lyrics tossing out references to mind control and machine-induced hypnosis around the kind of hook that, once written, was likely the impetus for the release in the first place. Since his early days roaming the pre-social-media English underground proffering riffs to a then-receding ’90s-generation audience around the turn of the century, and even through his contributions to other outfits, on We Lay on Cold Stone, etc., etc., as a defining feature of his work, Bethancourt has had an ability to lend accessible songs an element of danger through the looseness of their groove. It’s not that Josiah are pushing themselves so hard physically that “rehctaW” or anything else on the EP might come apart — much as “Become” is ‘together’ in any traditional sense to start with — like their hands would fall off or something, but in the internalized classic-heavy influence the band so ably wields, in the way they take a willfully simple idea like garage rock and use it as a vehicle for more complex craft, they’re less predictable than it seems.

Both “rehctaW” and the seven-minute “By My Left Hand” reinforce this, the latter starting gradually before it gets to the chic wub of its verse with Dickinson‘s second guitar distinct from Bethancourt‘s holding down the riff, building up and rolling forward an instrumental procession further bolstered by the piano guest spot from Morgan Sol, who complements the rise in rhythmic tension moving higher on the keyboard until a sudden cut to a lower thud ends a subtly fervent push. “By My Left Hand” further highlights the chemistry of the band as a whole as they sleek into and through a short and dreamy break at the start of that last build, and certainly their willingness to mess with form and the flexibility of their approach are on display in “Become,” which as alluded above departs from structure toward ambient ends. Echoing fills of drums at the start feel loosely ritualized, and when Bethancourt begins singing, his voice is in full incantation mode. The line, “scratch out your eyes and see no more,” arrives early in the piece, and becomes a defining point for the EP as right around 1:20 into the song, Bethancourt repeats the “no more” portion of that lyric in a delivery precisely drawn from a track written during his time in Leicester’s The Kings of Frog Island.

Can you guess the song? Well it’s “The Watcher,” of course, from 2008’s II (discussed here), and that meta-reference — just a tiny easter egg of a thing — brims with purpose no less in light of the context in which rehctaW places it. It is the juncture at which rehctaW reveals its full intention in engaging the scope of Josiah‘s work at this point, supplying on-theme introduction and even a last-second horror-style jump-cut while opening the door to the dark dimension for their reworking of “Black Annis (The Evocation Of),” originally by Cherry Choke. And what’s funny about that is when Bethancourt and Cherry Choke released the song on 2015’s Raising the Waters (review here), sure it was fleshed out with organ and had a similar sneak to its groove, but it was shorter and the character in the evocation’s jam is perfect for being tucked into the closer position on the EP, maintaining the ultra-weird of “Become” in a context of the band’s signature, swirl-prone class-ic heavy rock. Like each of the three songs before it, “Black Annis (The Evocation Of)” represents a different side of who Josiah are — the power trio, in the jam space, maybe freaking out — and after its done, the fading-in vocal echoes come forward just long enough for Bethancourt to once more advise, “Scratch out your eyes and see no more,” tying the closer to “Become” right before and bringing to light the expanses Josiah are able to reach in terms of atmosphere while remaining at their essence a rock and roll band.

Be it in the strange and eerie vocal layering, backward this-and-that, various whispers, shakers, and so on that finish “Become” or the catchy midtempo swing of its title-track, rehctaW draws together elements from the past of Josiah and other Bethancourt-inclusive or -led outfits — and that’s not to minimize the contributions of Lockton, Shardlow, or even Dickinson or Sol, but Josiah begins and ends at the say-so of its founding principal — and in so doing moves the band forward from where they were even a year ago. And they were plenty weird a year ago too, but the message being sent to the listener on rehctaW is that they’ll continue to push creatively in this state, reignited after nearly a decade’s absence and transitioning from ‘reunion band’ to ‘active band’ as many others have done before them. And where they likely could rest on the laurels of their first three records and do shows in London forever pumping out the same riffs to the same heads each year, that they’re choosing a more challenging (and ideally more fulfilling) creative path is the most essential display of character Josiah could make as a statement of who they are. They’ll do something after this. I have no idea what it’ll be in terms of sound, and that mystery is whole lot of fun.

Bethancourt was kind enough to offer a track-by-track breakdown of the EP to go with the premiere, discussing the folkloric background of “Black Annis” and “Become” — tying into the release’s definitely-NSFW cover art by Sara Koncilja; gorgeously detailed if perhaps wanting subtlety in concept — and the impetus behind “rehctaW” and “By My Left Hand.” You’ll find it after the player below, followed by release particulars for the EP.

Please enjoy:

Josiah, “rehctaW” track premiere

Josiah, Rehctaw EP track-by-track with Mathew Bethancourt:

1. rehctaW

Written and demo’d early January 2023. This track dropped like a fully formed ear worm. rehctaW was the driver for the EP, as it couldn’t wait for an album and almost felt at odds with everything else I’ve been writing lately. Lyrically based on the ideas of the inspiration that is Austin Osman Spare. Among many things AOS believed rehctaW was the symbol of reaching backwards in time to infinite remoteness by the mechanism of intense nostalgia. He also felt otherworld energies flowed through him when he reached this state of bliss. A creative force using the flesh to manifest its intent. Whilst not directly leaning on any AOS texts, rehctaW embodies the idea of a force within and without. The watcher within and without. Who’s really in control of your mind. Are you the one that’s always driving. Why did the Kozmik soup present me this fully formed track, did I write it – or…

2. By My Left Hand

This was originally written and recorded for Mark Lannegan. I wrote 6 tracks during the winter/spring of 20/21 for inclusion on what would have been his latest album, if it wasn’t for his sad and untimely death. I decided to keep it instrumental for the EP as I couldn’t get past the notion of Mark singing over the music. It was written for Mark with love and respect for a great artist. Another track that dropped into my mind fully heard. Like an old familiar friend. By My Left Hand speaks to those who take the other way.

3. Become

The rebirth of an idea under the spell of local Leicester folk legend Black Annis. Designed as the prefix to Black Annis. Become lets her spirit back into the band, back into our lives. Both Dan and I grew up with her legend and now we both live metres away from her bower. We live the folk lore that impregnates all our traditions and rituals. Annis is a bittersweet character that we have once again chosen to evoke. Obviously a woman of great power, hence her subsequent horrific action.

4. Black Annis (the evocation of)

There’s a few Cherry Choke tracks that could quite easily have been Josiah works. I felt we never quite did this song justice on Raising The Waters and the revisiting and ultimate reworking of the track felt right for this EP. It’s something I like the idea of. Revisiting your own work over and over. We will do it again in the future. Something common in jazz and blues but so well utilised in rock. We love the outcome though. There’s a ghost in the machine for sure and it’s thick with the scent of folklore. Sounds can be heard that none of us made. It’s a strange one to listen to.

You may pre-order the exclusive band edition of 75 black/gold hand numbered vinyl & gold CD via Josiah bandcamp store and limited label edition of 225 red/gold vinyl & gold CD via Interstellar Smoke Records from October 31st.

EP Release date: December 1st 2023 via Interstellar Smoke Records
Single streaming date: October 31st 2023

1. rehctaW (4:47)
2. By My Left Hand (7:02)
3. Become (3:31)
4. Black Annis (The Evocation Of) (6:00)

The Makers::
Dan Lockton – Drums
Andy Shardlow – Bass
Mathew Bethancourt – Voice, Guitar & Keys

By My Left Hand features additional musicians Morgan Sol on piano & Jack Dickinson on acid guitar.
Recorded & mixed by Mathew Bethancourt with the assistance of Kev ‘The Druid’ Lloyd at Ivy Road June 2023. Mastered by Satanic Audio.

Cover illustration by Sara Koncilja.

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